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CEU Department of Medieval Studies, 2001)
TABLE OF CONTENTS Editors’ Preface ............................................................................................................. 5 I. ARTICLES AND STUDIES .........................................................................7 Rozana Vojvoda Većenega’s ‘Book of Hours’: a Manuscript Study with Special Stress on Decorated Initials............................... 9 Ana Marinković Constrvi et erigi ivssit rex Collomannvs: The Royal Chapel of King Coloman in the Complex of St. Mary in Zadar........ 37 Jan Machula Foreign Items and Outside Influences in the Material Culture of Tenth-Century Bohemia................................................................................. 65 Ildikó Csepregi The Miracles of Saints Cosmas and Damian: Characteristics of Dream Healing ...................................................................... 89 Csaba Németh Videre sine speculo: The Immediate Vision of God in the Works of Richard of St. Victor..............123 Réka Forrai Text and Commentary: the Role of Translations in the Latin Tradition of Aristotle’s De anima (1120–1270).......................139 Dávid Falvay “A Lady Wandering in a Faraway Land” The Central European Queen/princess Motif in Italian Heretical Cults..........157 Lucie Doležalová “Reconstructing” the Bible: Strategies of Intertextuality in the Cena Cypriani...........................................181 Reading the Scripture ..............................................................................203 Foreword – Ottó Gecser ...............................................................................205 -
The Cult of Saint Jerome in Dalmatia in The
Ines Ivić THE CULT OF SAINT JEROME IN DALMATIA IN THE FIFTEENTH AND THE SIXTEENTH CENTURIES MA Thesis in Medieval Studies Central European University CEU eTD Collection Budapest May 2016 THE CULT OF SAINT JEROME IN DALMATIA IN THE FIFTEENTH AND THE SIXTEENTH CENTURIES by Ines Ivić (Croatia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner CEU eTD Collection ____________________________________________ Examiner Budapest May 2016 THE CULT OF SAINT JEROME IN DALMATIA IN THE FIFTEENTH AND THE SIXTEENTH CENTURIES by Ines Ivić (Croatia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection Budapest May 2016 THE CULT OF SAINT JEROME IN DALMATIA IN THE FIFTEENTH AND THE SIXTEENTH CENTURIES by Ines Ivić (Croatia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Supervisor CEU eTD Collection Budapest May 2016 I, the undersigned, Ines Ivić, candidate for the MA degree in Medieval Studies, declare herewith that the present thesis is exclusively my own work, based on my research and only such external information as properly credited in notes and bibliography. -
ART HISTORY of VENICE HA-590I (Sec
Gentile Bellini, Procession in Saint Mark’s Square, oil on canvas, 1496. Gallerie dell’Accademia, Venice ART HISTORY OF VENICE HA-590I (sec. 01– undergraduate; sec. 02– graduate) 3 credits, Summer 2016 Pratt in Venice––Pratt Institute INSTRUCTOR Joseph Kopta, [email protected] (preferred); [email protected] Direct phone in Italy: (+39) 339 16 11 818 Office hours: on-site in Venice immediately before or after class, or by appointment COURSE DESCRIPTION On-site study of mosaics, painting, architecture, and sculpture of Venice is the primary purpose of this course. Classes held on site alternate with lectures and discussions that place material in its art historical context. Students explore Byzantine, Gothic, Renaissance, Baroque examples at many locations that show in one place the rich visual materials of all these periods, as well as materials and works acquired through conquest or collection. Students will carry out visually- and historically-based assignments in Venice. Upon return, undergraduates complete a paper based on site study, and graduate students submit a paper researched in Venice. The Marciana and Querini Stampalia libraries are available to all students, and those doing graduate work also have access to the Cini Foundation Library. Class meetings (refer to calendar) include lectures at the Università Internazionale dell’ Arte (UIA) and on-site visits to churches, architectural landmarks, and museums of Venice. TEXTS • Deborah Howard, Architectural History of Venice, reprint (New Haven and London: Yale University Press, 2003). [Recommended for purchase prior to departure as this book is generally unavailable in Venice; several copies are available in the Pratt in Venice Library at UIA] • David Chambers and Brian Pullan, with Jennifer Fletcher, eds., Venice: A Documentary History, 1450– 1630 (Toronto: University of Toronto Press, 2001). -
The Life of Philip Thomas Howard, OP, Cardinal of Norfolk
lllifa Ex Lrauis 3liiralw* (furnlu* (JlnrWrrp THE LIFE OF PHILIP THOMAS HOWARD, O.P., CARDINAL OF NORFOLK. [The Copyright is reserved.] HMif -ft/ tutorvmjuiei. ifway ROMA Pa && Urtts.etOrl,,* awarzK ^n/^^-hi fofmmatafttrpureisJPTUS oJeffe Chori quo lufas mane<tt Ifouigionis THE LIFE OP PHILIP THOMAS HOWAKD, O.P. CARDINAL OF NORFOLK, GRAND ALMONER TO CATHERINE OF BRAGANZA QUEEN-CONSORT OF KING CHARLES II., AND RESTORER OF THE ENGLISH PROVINCE OF FRIAR-PREACHERS OR DOMINICANS. COMPILED FROM ORIGINAL MANUSCRIPTS. WITH A SKETCH OF THE EISE, MISSIONS, AND INFLUENCE OF THE DOMINICAN OEDEE, AND OF ITS EARLY HISTORY IN ENGLAND, BY FE. C. F, EAYMUND PALMEE, O.P. LONDON: THOMAS KICHAKDSON AND SON; DUBLIN ; AND DERBY. MDCCCLXVII. TO HENRY, DUKE OF NORFOLK, THIS LIFE OF PHILIP THOMAS HOWARD, O.P., CAEDINAL OF NOEFOLK, is AFFECTIONATELY DEDICATED IN MEMORY OF THE FAITH AND VIRTUES OF HIS FATHEE, Dominican Priory, Woodchester, Gloucestershire. PREFACE. The following Life has been compiled mainly from original records and documents still preserved in the Archives of the English Province of Friar-Preachers. The work has at least this recommendation, that the matter is entirely new, as the MSS. from which it is taken have hitherto lain in complete obscurity. It is hoped that it will form an interesting addition to the Ecclesiastical History of Eng land. In the acknowledging of great assist ance from several friends, especial thanks are due to Philip H. Howard, Esq., of Corby Castle, who kindly supplied or directed atten tion to much valuable matter, and contributed a short but graphic sketch of the Life of the Cardinal of Norfolk taken by his father the late Henry Howard, Esq., from a MS. -
Andrea Palladio's Influence on Venetian
ANDREA PALLADIO'S INFLUENCE ON VENETIAN CHURCH DESIGN: 1581 - 1751 By RICHARD JAMES GREEN B.A. (Honours), The University of Saskatchewan, 1975 B. Arch., The University of British Columbia, 1980 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE in THE FACULTY OF GRADUATE STUDIES (School of Architecture) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1987 ©Richard James Green, 1987 k In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of dst^/~j£e^&<^K. The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date Q^t>-C-c^ /S( /9gft- . DE-6G/81) ABSTRACT Andrea Palladia was born in Padua in the Republic of Venice in 1508 and practiced his architecture throughout the Veneto until his death in 1580. Today, there are some forth-four surviving palaces, villas, and churches by the master. These buildings have profoundly moved the imagination of countless generations of academics, artists, and architects for over four hundred years. Without a doubt, he has been the most exalted and emulated architect in modern history. -
Pilgrims of Beauty: Art and Inspiration in 19Th-Century Italy, February 3, 2012-July 8, 2012
Pilgrims of Beauty: Art and Inspiration in 19th-Century Italy, February 3, 2012-July 8, 2012 Throughout the 19th century, the landscape, history, architecture, and art of Italy served as a tremendous source of inspiration for artists. Masters such as Ingres, Turner, Sargent, and Whistler were among those who benefitted from, and contributed to, the spirit of artistic experimentation and collaboration Italy offered. Featuring more than 60 works of art--including paintings, sculpture, drawings, prints, photographs, and jewelry, all drawn from the Museum's permanent collection--Pilgrims of Beauty is a window into the array of styles and approaches that emerged from Italy in this period. Pilgrims of Beauty is made possible by a grant from the Andrew W. Mellon Foundation. Additional support for the exhibition is provided by Shawmut Design and Construction. CHECKLIST OF THE EXHIBITION William Merritt Chase American, 1849-1916 In Venice, ca. 1877 Oil on panel Bequest of Isaac C. Bates 13.846 William Merritt Chase was one of the earliest painters to work in Venice using the new Impressionist style. In sketches like this, he uses short, loose brushstrokes to study the play of light, color, and reflections around a row of ordinary houses in the quiet Dorsoduro neighborhood, with the dome of the Chiesa dei Gesuati beyond. These same qualities and challenges later lured Renoir, Monet, Sargent, and many others to the city on the lagoons. Chase was evidently proud of this work, despite its modest size. He exhibited it at the Providence Art Club in 1882, where it was purchased by local collector Isaac Bates. -
The Martyrology of the Monastery of the Ascension
The Martyrology of the Monastery of the Ascension Introduction History of Martyrologies The Martyrology is an official liturgical book of the Catholic Church. The official Latin version of the Martyrology contains a short liturgical service the daily reading of the Martyrology’s list of saints for each day. The oldest surviving martyologies are the lists of martyrs and bishops from the fourth-century Roman Church. The martyrology wrongly attributed to St. Jerome was written in Ital in the second half of the fifth century, but all the surviving versions of it come from Gaul. It is a simple martyrology, which lists the name of the saint and the date and place of death of the saint. Historical martyrologies give a brief history of the saints. In the eighth and ninth centuries, St. Bede, Rhabanus Maurus, and Usuard all wrote historical martyrologies. The Roman Martyrology, based primarily on Usuard’s, was first published in 1583, and the edition of 1584 was made normative in the Roman rite by Gregory XIII. The post-Vatican II revision appeared first in 2001. A revision that corrected typographical errors and added 117 people canonized by Pope John Paul II between 2001 and 2004, appeared in 2005.1 The Purpose and Principles of This Martyology The primary purpose of this martyrology is to provide an historically accurate text for liturgical use at the monastery, where each day after noon prayer it is customary to read the martyrology for the following day. Some things in this martyrology are specific to the Monastery of the Ascension: namesdays of the members of the community, anniversaries of members of the community who have died, a few references to specific events or saints of local interest. -
Syllabus, Art in Venice, 2020
Columbia University – Summer Program in Venice Summer 2020 Art in Venice – AHIS O4430 Venice's unique geographical location in the reflective waters of the Adriatic and at the crossroads between East and West has had a profound impact on all aspects of Venetian life and culture. This course will investigate the artistic production of the Lagoon City between the fourteenth and eighteenth centuries. The compelling works of Venetian artists, such as Carpaccio, Bellini, Giorgione and Titian, Tintoretto and Veronese, as well as the great civic and religious monuments, including the Palazzo Ducale, the great mendicant churches, and the Basilica di San Marco, will be considered in light of the sophisticated political and social systems of the Venetian Republic. Issues such as the development of the distinctive urban fabric, the invention of a civic iconography, the role of the artist, and the Venetian workshop practices, as well as the impact of the Islamic world, and private and corporate patronage, will be examined. INSTRUCTOR Caroline A. Wamsler COURSE DURATION, MEETING TIMES AND MEETING LOCATIONS Between June 9 and July 18, 2019 Tuesdays: 9:00am – ca. 3:30pm Thursdays: 9:00 – 11:00am Location – Each session listed below identifies the meeting location. NOTE: Please review the exact time and location information included in this syllabus carefully and stay posted for changes as we might need to make adjustments. Please arrive on time, as we will often move to another location shortly after gathering. COURSE REQUIREMENTS, GRADING, AND CLASS AND UNIVERSITY POLICIES Attendance: The success of this course will depend on the participants’ presence and active participation. -
Martyrology of the Sacred Order of Friars Preachers
THE MARTYROLOGY OF THE SACRED ORDER OF FRIARS PREACHERS THE MARTYROLOGY OF THE SACRED ORDER OF FRIARS PREACHERS Translated by Rev. W. R. Bonniwell, O.P. THE NEWMAN PRESS + WESTMINSTER, MARYLAND 1955 [1998] Nihil obstat: FRANCIS N. WENDELL , 0. P. FERDINAND N. GEORGES , 0. P. Censores Librorum Imprimatur: MOST REV . T. S. MCDERMOTT , 0. P. Vicar General of the Order of Preachers November 12, 1954 Copyright, (c) 1955, by the NEWMAN PRESS Library of Congress Catalog Card Number: 55-8660 Printed in the United States of America [This electronic edition: 1998] TO OUR BELOVED FATHERS , BROTHERS , AND SISTERS OF THE ORDER OF FRIARS PREACHERS , WE FATHER TERENCE STEPHEN MCDERMOTT MASTER OF SACRED THEOLOGY AND THE HUMBLE VICAR GENERAL AND SERVANT OF THE ENTIRE ORDER OF FRIARS PREACHERS GREETINGS AND BLESSINGS : With the rapid growth of the liturgical movement especially in the last quarter of a century, there has been an increasing volume of requests from Dominican Sisters and Lay Tertiaries for an English translation of our Breviary and Martyrology. It is with pleasure, therefore, that I am able to announce the fulfillment of these desires. The Breviary, translated by Father Aquinas Byrnes, O.P., is now in the process of publication at Rome, while the translation of the Dominican Martyrology has just completed. The Martyrology is one of the six official books of the Church's liturgy, its use in the choral recitation of the Divine Office is obligatory. Because of the salutary effects derived from the reading of this sacred volume, various Pontiffs have urged its use by those who recite the Office privately. -
The Contarina Flag Second Half of the 17Th Century the Most Beautiful Venetian Standard Handed Down to Us
ENGLISH The Contarina Flag Second half of the 17th century The most beautiful Venetian standard handed down to us Independent Veneto Committee and for historical reconstruction Cover page: A detail of the Contarina flag, completely redesigned by the illustrator Oliviero Murru, commissioned by the Independent Veneto Committee and for historical reconstruction, in collaboration with the Sindacato Libero (Free Trade Union) and the Committee for the cele- bration of the Veronese Easters. This spectacular standard has been reproduced in the minutest detail, supplementing and improving the patchy or worn parts and restoring the original glory of the warp and weft, the design and the colours. The Contarina Flag Second half of the 17th century The most beautiful Venetian standard handed down to us INDEPENDENT VENETO COMMITTEE AND FOR HISTORICAL RECONSTRUCTION Via Lucania, 16 - 37138 VERONA Tel. 347/7455799 - Fax 045/4853109 Recovering our www.venetoindipendente.it History and Freedom [email protected] Tax Code: 93250030231 and in collaboration with the SINDACATO LIBERO (FREE TRADE UNION) Provincial Secretary of Verona Via Lucania, 16 - 37138 Verona Tel. 045/8103444 - Fax 045/8197035 E-mail: [email protected] - Certified email: [email protected] Committee for the celebration of the VERONESE EASTERS 17-25 aprile 1797 Via Mentana, 24 - 37128 VERONA Tel. 329/0274315 - 347/3603084 E-mail:[email protected] – Certified email: [email protected] www.traditio.it – Tax Code 93105870237 With the patronage and And with the contribution of: VENET contribution of the Veneto Region A A P O R U E Translation into English by Nick Skidmore. Translation services by Winpeople – Verona – Italy. -
Nature's Revelation in Cosmè Tura's Sacred Art
Durham E-Theses Per Visibilia ad Invisibilia: Nature's Revelation in Cosmè Tura's Sacred Art WARDLE, CLAUDIA,LAUREN How to cite: WARDLE, CLAUDIA,LAUREN (2016) Per Visibilia ad Invisibilia: Nature's Revelation in Cosmè Tura's Sacred Art, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11914/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Per Visibilia ad Invisibilia: Nature’s Revelation in Cosmè Tura’s Sacred Art Claudia L. Wardle Hatfield College Submitted for the degree of Master of Arts by Research at Durham University School of Modern Languages and Cultures - Italian 2016 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. -
Sixteenth-Century Ceiling Painting in Venetian Churches at a Time
Mapping All Above: Sixteenth-Century Ceiling Painting in Venetian Churches at a Time of Religious Reform by Henrietta Miers Department of Art, Art History, and Visual Studies Duke University Date:_____________________ Approved: ___________________________ Kristin Lanzoni, Co Supervisor ___________________________ Victoria Szabo, Co Supervisor ___________________________ Caroline Bruzelius Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the program of Historical and Cultural Visualization in the Graduate School of Duke University 2015 ABSTRACT Mapping All Above: Sixteenth- Century Ceiling Painting in Venetian Churches at a Time of Religious Reform by Henrietta Miers Department of Art, Art History, and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristin Lanzoni, Co Supervisor ___________________________ Victoria Szabo, Co Supervisor ___________________________ Caroline Bruzelius An abstract of a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the program of Historical and Cultural Visualization in the Graduate School of Duke University 2015 Copyright by Henrietta Marie Miers 2015 Abstract The objective of this thesis is to examine seventeen Venetian church ceiling cycles and to demonstrate how many of them, particularly the ones painted from the 1550s onward, corresponded to Catholic reform and the decrees set forth at the Council of Trent. Demonstrating the importance of the partnership between traditional methodologies and digital applications as an approach to art historical research and presentation, this thesis determines that the subject matter and display of the ceiling cycles after 1550 shifted due to the decrees related to imagery. The first chapter provides an overview of the Catholic Church in Venice and its imagery as well as the controversy over religious imagery in the sixteenth century.